Empty Plate a bountiful feast

Empty Plate a bountiful feast
By EVERETT EVANS
Copyright 2005 Houston Chronicle

The empty plates dictated by its intriguing premise notwithstanding, An Empty Plate in the Café du Grand Boeuf serves up a feast of fine theater.

In Main Street Theater's well-done Houston premiere of Michael Hollinger's "tragic comedy in seven courses," director Rebecca Greene Udden and her able cast savor the delicate flavors of Hollinger's literate, witty and ingeniously plotted script, with its rich undertones of ironic humor and rueful philosophizing.

Set in Paris on a summer evening in 1961, Empty Plate takes place at an unusual restaurant. The owner, a wealthy expatriate American publishing magnate, is the sole customer. The establishment is always open, the staff ever ready to prepare for "Monsieur" (as they've been directed to call their boss) anything he desires.

Yet on this night, Monsieur arrives from the bullfights in Madrid disheveled and morose. He demands the one thing the staff never anticipated — that he be allowed to starve to death at his table. Despite his promise that he has provided for them in his will, they are distraught. Serving him has become their sole purpose. The headwaiter proposes that they prepare a seven-course dinner — but leave the food in the kitchen, serving only the empty plates and descriptions of the dishes. Monsieur agrees to just that, though the staff members clearly hope they can ultimately tempt him into accepting more than just descriptions.

As the "dinner" progresses, Monsieur reveals the circumstances both long-past and recent that robbed him of his appetite for food (and life). One factor is the suicide of Ernest Hemingway, whom Monsieur idolized and regularly quotes. Another is the absence of Monsieur's mistress, who usually accompanies him. But what has happened to her? That is just one of the mysteries tantalizing the staff.

Hollinger balances his key ingredients of nonchalant absurdism, zany comedy and serious reflection on desire and apathy. He seasons his plot with the often volatile interplay of the staff, particularly the marital hostilities of headwaiter Claude and his dissatisfied wife, Mimi. He injects much clever wordplay, despite one or two moments when he strains a bit for effect.

Naturally, he has fun with the culinary descriptions, the "winsome shallots" and "buxom tomatoes." But there's ample food for thought, as well. The ending is satisfying, hinging on a surprise worthy of Guy de Maupassant or O. Henry.

Besides bringing a light touch to the material, Udden has cast the play felicitously. As Monsieur, MST veteran Charles Tanner exudes world weariness and the ashen gentility of burnt-out passions. Yet he remains aptly enigmatic.

James Belcher manages the neat trick of making headwaiter Claude aggressively servile with Monsieur, and just overbearingly bossy with everyone else. Celeste Roberts is even better than usual here — bringing an ideal blend of poise and passion to the fiery, frustrated Mimi, with islands of understanding amid her seas of tempestuousness. And she looks great in her "I'm leaving you" suit.

Bob Leeds likewise rises to the occasion as eccentric chef Gaston, amusingly miffed at being squelched by Claude, beaming with pride at his culinary creations, with a peculiar way of making bizarre non sequiturs sound reasonable.

As Antoine, the stammering new waiter, Andrew Ruthven is innocent and docile as a lamb. Leslie Maness brings grace and warmth to a role best left undescribed; she's part of the set of surprises that end the play so effectively.

If you're hungry for fresh, sophisticated theater, this Empty Plate delivers.

AN EMPTY PLATE IN THE CAFÉ DU GRAND BOEUF

• When: 7:30 p.m. Thursdays, 8 p.m. Fridays-Saturdays, 3 p.m. Sundays, through Oct. 16. Additional show at 7:30 p.m. Wednesday. No show on Sept. 16

• Where: Main Street Theater, 2540 Times Blvd.

• Tickets: $20-$30; 713-524-6706